Traditional Culture Encyclopedia - Weather inquiry - How to divide the rhythm in Tianjingsha Qiu Si 1~3 sentences?
How to divide the rhythm in Tianjingsha Qiu Si 1~3 sentences?
Dead vines/old trees/faint crows,
Bridges/running water/people,
An ancient road/west wind/thin horse.
Second, the original text is as follows:
Tianjin Sha Qiu Si
Author: Ma Zhiyuan (Yuan Dynasty)
Dead vines, old trees, faint crows,
Small bridges and flowing water,
The ancient road and the west wind are thin.
The sun went down,
Heartbroken people are at the end of the world.
Third, the rhythm division law of Shi Ge:
The rhythm of poetry is mainly caused by the general neat language form. Generally neat language forms include three aspects: first, generally neat words; Second, the sentence patterns are generally neat; The third is when reading or singing. The number of pauses is generally neat. Or there is a certain pattern.
China's ancient poems can be divided into seven-character poems and miscellaneous poems. It should be said that their forms are generally neat. But it is slightly different.
Let's look at poetry first. For example, a four-character poem is usually a sentence pattern of two meals:
There are many trees and lush vegetation.
Autumn wind-bleak, Hongbo-turbulent. (Cao Cao's "Watching the Sea")
In five-character poems, there are usually three meals, two two one or two two one sentence patterns:
Jumping-Petunia-Star, Jiao Jiao-He Han-Female.
Xianxian-Zhuo-Su Hand, Zhazha-Nong-Loom. (Nineteen ancient poems)
Picking chrysanthemums under the east fence, you can see Nanshan leisurely.
Mountain sky-sunset-beautiful scenery, birds-harmony-return. (Tao Yuanming's drinking)
In seven-character poems, there are generally four sentences, 222 1 or 22 12:
Autumn wind-bleak-weather-cool, vegetation-falling-dew-frost,
Flocks of geese-resignation-geese-Nanxiang. Miss you-travel-thinking-heartbreaking,
Nuo-homesickness-love-hometown, He Jun-stay-send-each other?
(Cao Pi's Ge Yanxing)
The above is the overall characteristics of prosodic sentence patterns of ancient poetry from pre-Qin to Han, Wei and Six Dynasties. After the Qi and Liang Dynasties in the Southern Dynasty, with the discovery of the four tones of Chinese characters, the poet noticed that the use of horizontal grid characters and horizontal grid characters would produce a particularly pleasant tone effect, so he tried and tested repeatedly, and as a result, he formed a modern poem-metrical poem, which has strict requirements on the number of words, sentence patterns, phonology and so on. Common metrical poems include five-character metrical poems, seven-character metrical poems, five-character quatrains and seven-character quatrains. The key here is leveling. The so-called level tone is the induction of the four tones of Chinese characters by the ancients, which is different from the four tones of modern Chinese. Generally speaking, a flat tone is equivalent to one or two tones in modern Chinese (that is, a flat tone and a rising tone), and a disyllabic tone is a general term for three tones of rising tone, falling tone is equivalent to four tones, and the rising tone has disappeared in modern Chinese (Putonghua) and turned to other tones. Zhao Yuanren explained the standard pronunciation of these five tones in Guoyin New Poetry Rhyme, and pointed out that if these five tones are alternately arranged together, they can cause ups and downs and have certain prosodic effect.
The sentence patterns of five-character or seven-character rhythmic poems are basically the same as those of classical poems, such as:
Since you come from your hometown, you should know your hometown.
Tomorrow-in front of the window-cold plum blossoms-no? (Wang Wei's miscellaneous poems)
Once upon a time, people went by yellow crane, and here-standby-yellow crane-building.
In the yellow crane never revisited earth, white clouds have a long sky for thousands of years.
Qingchuan-Vivid-Hanyang-Trees, Grass-Growth-Parrot-Mainland.
Sunset-Xiangguan-where-yes, smoke waves-on the river-make people-sad.
(Yellow Crane Tower in Cui Hao)
However, in order to maintain the integrity of the meaning unit, sentence patterns do not have to be subdivided in this way, and a rough way can be adopted, that is, five words are two or three sentences, and seven words are four or three sentences or two or five sentences, such as:
Before returning to Yuefeng-the sand is like snow and the moon is like frost.
I don't know-where to play the flute, all night-people look forward to their hometown. (Li Yi's "On Listening to the Flute at Night on the Wall")
The stars last night-the wind last night, the west side of the painting building-the east side of Guitang.
No body-Cai Fengyi, but a little heart-Linxi.
Send the hook every other seat-spring wine is warm, grass is covered-wax lamp is red.
-listen to the drums and go to the official, but go to Lantai-the class turns to Peng. (Li Shangyin's Untitled)
The biggest difference between metrical poetry and classical poetry is that the words are required to be flat and staggered to create the beauty of cadence. Therefore, the rhythm of metrical poetry comes not only from the arrangement of numbers, but also from the alternate use of even words. In short, the level tone is the key element of metrical poetry. There are four basic sentence patterns in the level tone format of five-character rhythmic poems:
The first sentence: plain,
The second sentence pattern: occasionally.
The third sentence pattern: flat and even,
The fourth sentence pattern: flat and even.
Seven-character verse is only an extension of five-character verse, and it also has four basic sentence patterns:
The first sentence: plain,
The second sentence pattern: flat and even.
The third sentence pattern: even number, even number,
The fourth sentence pattern: flat and even.
The poet's creation of five-character or seven-character metrical poems is the alternation and mutual application of the above sentence patterns. The basic principle of this alternate use of horizontal and vertical lines is: staggered in this sentence and opposed in the dialogue. For example, three or four sentences in Lu You's Regret for the Past:
The boat crossed the river in Xueguazhou,
Average/average/average/average
The iron horse is scattered in the autumn wind
It is flat/flat/flat.
If it is pentameter or heptameter, two couplets in the middle, namely "parallel couplet" and "neck couplet", are required to be used in opposition, and there are many restrictions on rhyme. In the eyes of modern people, metrical rules undoubtedly limit the freedom of expression of poets, and Wen Yiduo once referred to it as "dancing in chains". However, in ancient times, it was a language art competition and a challenge. Therefore, poets who are not to be outdone since the Tang and Song Dynasties have demonstrated their perfect poetic skills with metrical poems, and readers often appreciate poetry from the rhythm of singing.
Look at the miscellaneous poems again Like the Book of Songs that we are familiar with? Feng Wei? The sentence pattern of Ge Tan is also an uneven miscellaneous poem. The whole poem consists of three chapters. Take the first chapter as an example:
Kan Kan cut sandalwood, the river dried up, and the river was clear and rippling. No crops, no crops, no crops, no crops. No hunting, no hunting. Is there a county in Hu Zhaner's court? He is a gentleman, he is not a vegetarian!
In this chapter, there are nine sentences, four sentences and four words, six sentences and five words, two sentences and six words, six sentences and seven words, and six characters. When we read it, we still feel that the rhythm is very clear. Why? The first is rhyme. Secondly, except the first sentence, the word "Xi" is removed from the function words, and the word "one" can end with three words, such as "Kuhe", "Qinglian", "300", "Jun" and "vegetarian rice", which is very regular. Third, apart from a few long sentences, there are about two pauses in each poem, which is also very regular. In addition, the whole poem is divided into three chapters, and the sentence structure of the three chapters is exactly the same, which naturally enhances the rhythm of the whole poem.
Another example is The Book of Songs? The end of the four sentences of the EU:
Yesterday I-past, Liu Shu-Yi Yi; Today I was thinking that it was raining and snowing.
This rhythm is obviously different from prose (past-I was past, now-I can think). However, it is this unique rhyme between the second language and the second language that makes these four poems beyond words, lingering and full of strong aesthetic interest. If you translate them into prose: "when I walk in front, the willow trees sway in the spring breeze;" Now I'm back. It's snowing heavily. "Although the theme of the original poem exists, it is very boring because it has lost its unique poetic quality and rhyme.
Like miscellaneous poems, the sentence patterns of lyrics and songs are uneven. But after careful analysis, we will find that the sentence patterns of lyrics and songs are also roughly neat. For example, Su Shi's famous "Shui Diao Ge Tou":
When did the moon begin to appear? Ask about Qing Yao wine. I don't know about palaces in the sky. What year is tonight? I'm willing to ride the wind to the sky, I'm afraid I can't stand the cold for nine days in a pavilion of fine jade. Dance to find the shadow, what is it like! The moon turned into a scarlet pavilion, hanging low on the carved window, shining on the sleepy self. The moon should not have any resentment against people. Why is it round when people are gone? People have joys and sorrows, and the moon has a full moon. This matter is old and difficult. I hope people live a long life.
The word *** 19, including three words and three sentences, four words 1, five words and nine sentences, six words and five sentences, and seven words 1. It can be seen that five words account for about half, which constitutes the tone of the whole word. And the beginning and end of the whole word, as well as six rhyming key sentences, are all five words. In addition, except for the four-six-character poems, all the three-five-seven-character poems end with three words, especially all rhyming sentences. The 1 4 sentence in the word does not rhyme with the five six sentences, which not only does not affect the harmony of the whole word, but also makes the rhythm of the whole word rich and lively.
There are many forms of words, and * * * has more than two thousand styles. Every style is a new style of poetry. Unlike ordinary poetry, there are only two basic formats: flat or wrinkled. The number of words varies, from Shengzhou Order with a length of 2 15 to Sixteen-character Order with a length of 16 (also known as Cangwu Ballad). Some words have different styles in the same tone because the number of words is slightly different. According to the number of words, predecessors divided words into three categories: small, medium and long, with 58 words being small, 59 to 90 words being medium and 9 1 word being long. (According to Mao's Interpretation of Lyrics)
In short, the sentence patterns and rhythms of classical poetry are rich and varied, which can accommodate all kinds of words and sentence structures. If used properly, it can express various contents.
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